We shall begin to expound upon this marvelous singing method, by giving an overview of some of its salient features. There will be a total of 19 Questions and Answers; after which, we will delve into the meat of things.
QUESTIONS & ANSWERS GIVING AN OVERVIEW OF THIS PHENOMENAL TECHNIQUE
(Note: Some of the following points of interest are discussed more fully in the seminar which follows.)
This section gives an overview of the major philosophical aspects of this technique. Of the 19 questions, those items marked with an asterisk(*) will be treated more expansively in the actual seminar, itself.)
Question #1: With so many different singing techniques, and with such a preponderance of successful and competent singers and voice teachers, why is there a NEED for another?
*Answer. The present low standards of artistic singing are reflected in the fact that comparatively few contemporary professional singers portray an ease, freedom, and dexterity of singing that should characterize a high standard of the art. Even the best of the best singers, both professional and amateur, are beset with vocal problems of one kind or another. Clearly, the traditional, orthodox methods have not yet produced the quality of singing that should prevail in the so-called modern cultural "Age of Enlightenment."
Question #2: You say that "even the best of the best singers... are beset with vocal problems of one kind or another." Where do you get that idea, and what ARE some of those problems?
Answer. This fact is openly admitted by almost every one of the illustrious singers interviewed by the acclaimed basso, Jerome Hines, and reported in his well-written book, "Great Singers on Great Singing." And, it is all too evident in the stage appearance of many, if not most, of the professional operatic and concert singers of the day. These problems are typically manifest in such facial displays as wobbling mouths and lips, jittering tongues and vibrating chins, shortness of breath, belabored singing of so-called "high notes," occasionally resorting to "falsetto" as a crutch, sometimes missing or preferring not to sing either the high notes or the appoggiaturas or grace notes or runs or trills written by the composer, and substituting "easier sung" notes, etc., not to mention the most dreaded of all, calamities, the "cracking" of the voice on high notes! Yet, every one of these problems has surfaced and continues to show its ugly face in the professional artistic singing of the day! Is there any doubt that a better technique is called for? When the very best singers are troubled with problems, does it not show a NEED for a better technique?
Question #3: Can you give any concrete examples of the above?
Answer. Yes! Indeed! [see Below]
That will be all for today. Stay tuned for an exciting adventure into a method of singing that challenges and eclipses all other methods! [And, it does that, simply because it is based on a REFLEXIVE, rather than, CONSCIOUS control of a singer's vocal organism].
